Reference chains and genre identification

2018 ◽  
pp. 39-66
Keyword(s):  
2013 ◽  
Vol 70 (1) ◽  
pp. 233-243 ◽  
Author(s):  
Pattisapu Nikhil Priyatam ◽  
Srinivasan Iyengar ◽  
Krish Perumal ◽  
Vasudeva Varma
Keyword(s):  

Author(s):  
Razvan George Condorovici ◽  
Corneliu Florea ◽  
Ruxandra Vrânceanu ◽  
Constantin Vertan

Author(s):  
Ольга Викторовна Бегичева ◽  
Александр Васильевич Солянкин

Рассматривается эволюция романтической баллады в баянном искусстве. Впервые обозначены три стадии ее жанровой эволюции. В качестве материала анализа избрана сюита для готово-выборного баяна А. Белошицкого «Из глубины веков». Цель исследования - атрибуция жанрово-балладных элементов в названном произведении. Использованы методы теоретической поэтики, целостного и жанрового музыковедческого анализа. В задачи работы входит установление соотношений между балладной моделью-инвариантом и ее реализацией в названном опусе, для чего даны критерии жанровой идентификации национально-исторической баллады. К ним относятся жанровый код - «Человек и историческая трагедия народа», генеральная интонация жанра - Nordic sublime, балладные персонажи - бард, воин и возлюбленная - и канонический мотивный тезаурус, лежащий в основе ее композиционно-драматургической модели. Делается вывод, что движение от баллады к балладности в сюите соответствует третьей стадии жанровой эволюции, связанной с разрушением «твердой жанровой формы», а ее реактуализация в ХХ веке способна выступить инструментом мифологизации прошлого. This work examines the evolution of romantic ballad in accordion art. For the first time, three stages of its genre evolution are identified. A suite for the converter accordion by A.Beloshitsky “From the Depths of Centuries” was chosen as the analysis material. The purpose of the article is to attribute genre-ballad elements in the named work. Methods of theoretical poetics, holistic and genre musicological analysis were used. The tasks of the work include establishing relationships between the ballad invariant model and its implementation in the named opus, for which the criteria for genre identification of a national-historical ballad are given. These include the genre code - «Man and the historical tragedy of the people», the general intonation of the genre - Nordic sublime, ballad characters - bard, warrior and beloved and canonical motive thesaurus, which underlies its composition and drama model. It is concluded that the movement from ballad to balladness in suite corresponds to the third stage of genre evolution associated with the destruction of the “true genre form” and its reactualization in the twentieth century is able to act as an instrument for the mythologization of the past.


2021 ◽  
Vol 32 (4) ◽  
pp. 252-258
Author(s):  
Irina A. Tarasova ◽  

The article raises the problem of the metadisciplinary interpretation of the term “genre”, which can be equally well defined as a nomadic concept or as an artistic universal. The author focuses on the question of the configuration of features defining the concept of genre in philology, art history, and musicology. Taking as a basis the general aesthetic principles of genre specification – functional, thematic, and structural – the author analyzes their genre-forming potential in various artistic forms and comes to the conclusion that understanding genre as a communicative and formally meaningful category provides an interdisciplinary dialogue, but at the same time, genre dominants can be different. For speech genres, such a dominant is a communicative goal, for painting genres – a subject content. The semantic parameter of the genre is interpreted in a similar way in literary criticism and musicology. The division into primary and secondary genres is a common feature for both philology and musicology. The structural parameter includes compositional features and elements of genre style, and the specific weight of this parameter is especially high in canonical (protoliterary and literary) and primary musical genres. The meaning of the structural features of the genre is inversely proportional to the visualization of an artistic form. This parameter is least significant for the genre identification of a painting.


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